I'm guessing I would know the answer to my question if I was using Pro Tools HD and other unmatched odds and ends in my converter chain? Mixing old with new to try and keep it all in sync for more IO however,
I ask this because question because I'm on the AD DA upgrade path right now and see this configuration in some peoples gear profile. Looking at different converters and sorting through the GAS noise to get to the other side
Why would you want an external clock like the Mytek Studio Clock if you are using Lynx Aurora16?
I think the idea for high end clocks is that you have a star grid for clock distribution. Central clock running individually to all pieces of digital gear. Boswell or Link or someone can illuminate the subject more probably.
Thanks John, I get that part so I guess what I'm really wondering is what's wrong with the Lynx Aurora 16?
I believe it has to do with the efficiency an accuracy of the clock when distributed parallel versus in series. In series you could theoretically get hiccups or lags or other inaccuracies as the chain gets longer. I believe there is no real consensus on how much of this is smoke and how much is reality. On the other hand, for people that count every dB lost through each TRS or XLR connector of a cable chain, it might be psychologically believable.
Oh, and I'm undecided on the subject despite the last sentence of my previous post.
Me too. I think its the kind of thing that's unique to your chain and trouble shooting, impossible to process if you aren't suffering from what ever it is that made you buy into this all. Kind of like the VOVOX hype vs the other high end cable, hybrid vs ITB and so on...
I'm still undecided on the converters I'm going to. RME, Lynx, Lavry Blue are in the running. Saw a Mytek in a profile and it got me wondering. I'm guessing this person is suffering from ProTools HD improvements and got that and then the Lynx to improve the Conversion and go caught up in G.A.S.
Just a hunch ?
Hard to say. It's a subject I'm not completely up on. I understand all the physics behind minimizing connection points for analog chain but that doesn't stop me from snapping a couple of cables together or using a patchbay in a studio or a stage snake for long runs. I just adjust for the (x)dB attenuation and make sure all the cable is quality and the connectors are quality. There is a huge audible difference between a generic stage snake and a Canare cabled Switchcraft box.
I do not run a central clock at this point. Perhaps after my garage/shop gets built this summer and I have a permanent studio setup of sorts I might experiment but jacking with it on location for the few digital pieces I have live is beyond my patience or pocketbook. I'd rather finish upgrading all my mic splitters with Jensen transformers.
You havn't got g.a.s.
What you suffer from is decidophobia!
Why do I prefer a Rosendahl Nanoclock as house clock over the super stabil RME clock from the HDSP card?
Rosendahl NanoClocks Wordclock-Distributor
Because it has 12 clock outputs for star shape connection of all Input and output units, mic-pre devices, digital mics, all ext. digital FXs, ext. mobile recorders, Bonsai,
video devices, DAT, CD-player,..anything that I want to use the same clock signal in my studio. And I can use it as failsafe, superclock and as clock distributor for external clocks
Lynx has just 1 I/O... like the HDSP.
Nanoclocks is a word clock distributor with integrated audio master clock generator, dual inputs with frequency status indicators and programmable output matrix - a flexible tool for all extensive digital audio installations. The unit provides two transformer isolated word clock inputs and 12 word clock outputs to receive and distribute word clock signals over long distances. Ground potential variations, similar to earthloop induced hum in analog audio, can cause jitter in clock signals, a transformer isolated input eliminates this effect. In operation mode DISTRIBUTOR the two inputs A and B can be routed individually to each of the 12 outputs. Ten LEDs on the front panel indicate the sample rate of the incoming signals. Input B also accepts Fs x256 signals (also known as super clock). GENERATOR mode changes the unit into a ultra low jitter audio master clock generator with 12 programmable outputs. Supported sample rates are 44.1, 48, 88.2, 96, 176.4 and 192 kHz as well as the respective super clocks (Fs x256). FAILSAFE mode is a broadcast application, which monitors the two input signals and performs an automatic switch over of all 12 outputs if the primary word clock signal fails.